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The Eloquent Screen : A Rhetoric of Film.

By: Contributor(s): Material type: TextTextPublisher: Minneapolis : University of Minnesota Press, 2019Copyright date: ©2019Edition: 1st edDescription: 1 online resource (433 pages)Content type:
  • text
Media type:
  • computer
Carrier type:
  • online resource
ISBN:
  • 9781452959641
Subject(s): Genre/Form: Additional physical formats: Print version:: The Eloquent ScreenDDC classification:
  • 791.43015
LOC classification:
  • PN1995 .P47 2019
Online resources:
Contents:
Intro -- Contents -- Publishers's Note -- Foreword -- On Gil Perez -- Preface -- Introduction: John Ford's Rhetoric -- Judge Priest's Rhetoric -- Plato and Cicero -- Rhetoric and Comedy -- Will Rogers and Stepin Fetchit -- Identification -- Comedy and Hierarchy -- Larger Than Life -- The River and the Dance -- Politics and Principle -- Myth and Truth -- Rhetoric of Genre -- House of Miscegenation -- Road to the Promised Land -- I. Cinematic Tropes -- Metonymy -- Tropes and Figures -- Metaphor -- The Unraveled Underwear -- The Broken Necklace -- Metaphor and Metonymy -- Synecdoche -- The Hands, the Bootie, the Sandals -- Faces -- The Stolen Necklace -- Rosebud -- Havana Stories -- The Dancing Women -- The Guillotine -- Freedom and Predestination -- The Puncture and the Veil -- The Train Whistles and the Hunk of Blue -- Documentary, Repetition, Representation -- The Village Church -- The Revolutionary Battleship -- Allegory and Extended Synecdoche -- The Monster and the City -- Steamboat Willie -- Figura Futurorum -- The Marriage of East and West -- The Walls of Jericho -- Technique as Metaphor -- The Road of Life -- The Striped Box -- Surprise -- The Slashed Eye and the Primal Scene -- The Priest and the Pineapple -- Irony and Realism -- The Bridge and the Ballad -- Dramatic Irony -- The Hurdanos and Us -- Ironic Self-­Effacement -- Open Synecdoche and the Reality Effect -- Hometown and War -- God Bless America -- The High of War -- Reflexivity and Comedy -- Modernist Parody -- Folk Tale and Revolution -- Each Scene for Itself -- Black Sheep -- Flowers -- Melodrama and Film Technique -- Between Tragedy and Comedy -- From Theater to Film -- Thinking and Feeling -- The Close-­up as Aria -- Melodramatic Argumentation -- Novelistic Characterization -- The Reverse Angle -- McTeague and Greed -- Photographer -- Music into Drama.
Melodrama of the Spirited Woman -- The Ambiguity of Stella Dallas -- Moving with Characters -- Not Reconciled -- In the Mood for Love -- Tragic Narration -- The Personified Camera -- Jump Cuts -- Crosscutting -- Split Space, Unbroken Time -- Displeasure -- The Devil's Point of View -- Allegorical Dimensions -- The Garden of Eden -- Melodrama and Comedy -- Of Identification -- Notions and Kinds of Identification -- The Projectionist -- Notes -- Index.
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Intro -- Contents -- Publishers's Note -- Foreword -- On Gil Perez -- Preface -- Introduction: John Ford's Rhetoric -- Judge Priest's Rhetoric -- Plato and Cicero -- Rhetoric and Comedy -- Will Rogers and Stepin Fetchit -- Identification -- Comedy and Hierarchy -- Larger Than Life -- The River and the Dance -- Politics and Principle -- Myth and Truth -- Rhetoric of Genre -- House of Miscegenation -- Road to the Promised Land -- I. Cinematic Tropes -- Metonymy -- Tropes and Figures -- Metaphor -- The Unraveled Underwear -- The Broken Necklace -- Metaphor and Metonymy -- Synecdoche -- The Hands, the Bootie, the Sandals -- Faces -- The Stolen Necklace -- Rosebud -- Havana Stories -- The Dancing Women -- The Guillotine -- Freedom and Predestination -- The Puncture and the Veil -- The Train Whistles and the Hunk of Blue -- Documentary, Repetition, Representation -- The Village Church -- The Revolutionary Battleship -- Allegory and Extended Synecdoche -- The Monster and the City -- Steamboat Willie -- Figura Futurorum -- The Marriage of East and West -- The Walls of Jericho -- Technique as Metaphor -- The Road of Life -- The Striped Box -- Surprise -- The Slashed Eye and the Primal Scene -- The Priest and the Pineapple -- Irony and Realism -- The Bridge and the Ballad -- Dramatic Irony -- The Hurdanos and Us -- Ironic Self-­Effacement -- Open Synecdoche and the Reality Effect -- Hometown and War -- God Bless America -- The High of War -- Reflexivity and Comedy -- Modernist Parody -- Folk Tale and Revolution -- Each Scene for Itself -- Black Sheep -- Flowers -- Melodrama and Film Technique -- Between Tragedy and Comedy -- From Theater to Film -- Thinking and Feeling -- The Close-­up as Aria -- Melodramatic Argumentation -- Novelistic Characterization -- The Reverse Angle -- McTeague and Greed -- Photographer -- Music into Drama.

Melodrama of the Spirited Woman -- The Ambiguity of Stella Dallas -- Moving with Characters -- Not Reconciled -- In the Mood for Love -- Tragic Narration -- The Personified Camera -- Jump Cuts -- Crosscutting -- Split Space, Unbroken Time -- Displeasure -- The Devil's Point of View -- Allegorical Dimensions -- The Garden of Eden -- Melodrama and Comedy -- Of Identification -- Notions and Kinds of Identification -- The Projectionist -- Notes -- Index.

Description based on publisher supplied metadata and other sources.

Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.

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